Drawing

Two-Dimensional Art

• Drawing

• Painting

• Printmaking

• Imaging: Photography, Film, Video, and Digital Arts

Drawing . . . is the necessary beginning of everything in art, and not having it, one

has nothing.

–Giorgio Vasari

Drawing• The most basic of all the visual arts• The most common support is

monochromatic paper or parchment. But, drawing can be found on a large variety of different surfaces.

• Drawing - the result of implement running over a surface and leaving some trace of this gesture

• Support - the surface• Monochromatic - one color • Linear - made of lines

DRAWING CATAGORIES

1. Sketches

2. Plans

3. Fully developed works of art

Figure 5.2, p.107: GARY KELLEY. Promotion for the Mississippi Delta Blues Festival (c. 1989). Pastel. 24” x 14”.

GARY KELLEY. Promotion for the Mississippi Delta Blues Festival (c. 1989). Pastel. 24” x 14”

• Pastel drawing commissioned as a promotional piece for Mississippi Delta blues festival

• Has all of the detail, all of the finish of a work of art in a medium that may be considered more permanent.

DRAWING MATERIALS

Dry Media

Wet Media

Dry MediaSilverpoint

• Uses a ground of bone or chalk mixed with gum, water and pigment

• Drag a silver tipped instrument over the surface, and the particles stick to the ground.

• To make an area darker you have to use cross hatching.

• Very delicate in appearance

Carol Prusa, Whirl, 2010silverpoint, graphite, titanium white pigment with acrylic

binder on acrylic hemisphere with fiber optics, 12” x 12” x 6”

Carol Prusa, Whirl, 2010

• Silverpoint is one of odlest drawing mediums (used widely from middle ages)

• Created by dragging silver-tipped tool over a surface that has been coated with a ground

• ground= a base layer (of bone dust or chalk mixed with gum, water, and pigment

• Coarse ground allows small flecks of silver to adhere to surface

• Very delicate medium

Dry Media continued…Pencil• Most traditional media• Replaced silverpoint

• Capable of creating a wide range of effects History:• Came into use in the 1500s• Mass produced pencils invented in late eighteenth

century • Uses a thin rod of graphite encased in wood or paper • The graphite is ground to dust, mixed with clay, and

baked.

• The more clay that is added to the mixture, the harder the pencil.

Pencil

Figure 5.6, p.109: ADRIAN PIPER. Self-Portrait Exaggerating My Negroid Features (1981). Pencil on paper. 10” x 8”.

ADRIAN PIPER. Self-Portrait Exaggerating My Negroid Features (1981). Pencil on paper.

10” x 8”.

• Piper invites viewer to focus on the aspects of her physical self that reveal her mixed black and white parentage

Charcoal

• Has a long history• Used by prehistoric man on cave walls!• Charcoal is burnt pieces of wood or bone. • Now charcoal is made from controlled charring of

special hardwoods. • Charcoals range from hard to soft. • Can be easily smudged or rubbed • Shows the surface of the paper• Needs to be fixed with varnish, or will rub off

Charcoal

Figure 5.8, p.110: KÄTHE KOLLWITZ. Self-Portrait (1924). Charcoal. 18-3/4” x 25”.

Chalk and Pastel

• Chalk and pastel are very similar to charcoal.• The compositions of the media differ.• Created by combining pigments and a binder –

such as gum arabic and then shaped into a workable stick

• Relatively young, only introduced to France in the 1400s.

• Available in many colors– Ocher - dark yellow that comes from iron oxide in

some clays – Umber - yellowish or reddish brown color that

comes from earth containing oxides or manganese and iron

– Sanguine - a “earthy” red color

Charcoal and Pastel

Figure 5.9, p.111: CLAUDIO BRAVO. Package (1969). Charcoal, pastel, and sanguine. 30-7⁄8” x 22-1⁄2”.

CLAUDIO BRAVO. Package (1969). Charcoal, pastel, and sanguine. 30-7⁄8” x 22-1⁄2”

• Finely rendered, has almost no trace of the artist’s “hand”

• Illusion of smooth sheen and crinkles of the wrapping paper

Colored pencil on paper

Figure 5.10, p.111: MICHELANGELO. Studies for The Libyan Sybil (1510–1511). Red chalk. 11-3⁄8” x 8-3⁄8”.

Chalk and Pastel

MICHELANGELO. Studies for The Libyan Sybil (1510–1511). Red chalk. 11-3⁄8” x 8-3⁄8”

• Study for the sistine chapel

• Quick, sketchy notations of placement, are then built up with more precisely defined detail

• Exactness of muscular detail and emphasis on edges could be evident because of Michelangelo's primary interest being sculpture

Crayon

• Strictly defined, the term crayon includes any drawing material in stick form (This can include charcoal, chalk, and pastel, plus wax implements.)

• Conte Crayon is one of the most popular commercially manufactured crayons.

• Wax crayons combine ground pigment with wax as their binder. – They are less apt to smudge.

Figure 5.13a and 5.13b, p.113 (top, left to right) Photographs of Ms. Mary Lou Furcron’s home. Photo A shows the shack while Ms. Furcron was living in it and tending to it. Photo B shows the shack just one month after her placement in a nursing home.Figure 5.14 , p.113 BEVERLY BUCHANAN. Hometown—Shotgun Shack (1992). Wood, mixed media. 12” x 9 1⁄4” x 15”.Figure 5.15 , p.113 BEVERLY BUCHANAN. Henriette’s Yard (1995). Oil pastel on paper. 60” x 60”.

Fluid Media

• Pen and Ink• Pen and Wash• Brush and Ink• Brush and Wash

Fluid Media

• The primary fluid medium used in drawing is ink. • Instruments used with ink are primarily pen and

brush. • Ink has been used for thousands of years. • Egyptians used it on papyrus. • Ancient people made ink from dyes of plants, squid,

and octopus. • Oldest known ink is India or China ink

– Used in calligraphy – Made of carbon black and water

Pen and Ink

• Used since ancient times• Earliest were hollow reeds• Quills, plucked from live birds, were

used in the Middle Ages. • Replaced in the nineteenth century

with mass produced metal nib, which is slipped into a stylus.– Many artists still use a these today.

Pen and Wash

Wash - diluted ink that is applied with brush

• Often combined with fine clear lines of pure ink to provide tonal emphasis

• The use of a wash allows for a tonal emphasis, not visible in pen-and-ink drawings.

Figure 5.21, p.116: GIOVANNI BATTISTA TIEPOLO. Hagar and Ishmael in the Wilderness (c. 1725–1735). Pen, brush and brown ink, and wash, over sketch in black chalk. 16-1⁄2” x 11-1⁄8”.

Pen and Wash

GIOVANNI BATTISTA TIEPOLO. Hagar and Ishmael in the Wilderness (c. 1725–1735).

Pen, brush and brown ink, and wash, over sketch in black chalk. 16-1⁄2” x 11-1⁄8”

• Fine, clear pen and ink lines

• But volume is created from use of wash

• Combination creates more illusion of three dimensionality and movement

Brush and Ink

• Extremely versatile

• Brushes come in a wide variety of materials, textures, and shapes. – These create different effects.

Figure 5.20, p.116: KATSUSHIKA HOKUSAI (c. 1800). Boy Playing Flute. Ink and brush on paper. 4 1⁄2” x 6 1⁄4”.

Brush and Ink

KATSUSHIKA HOKUSAI (c. 1800). Boy Playing Flute. Ink and brush on paper.

4 1⁄2” x 6 1⁄4”.

• Simplicity used to expertly define areas

Cartoons• Cartoon - derived from the Italian word cartone

meaning paper

• Originally referred to full-scale preliminary drawings done on paper for projects such as fresco paintings, stained glass, or tapestries.

• In 1843, the definition was expanded to what we know now, when a parody of fresco cartoons which were submitted for decoration of the House of Parliaments, appeared in an English magazine.

• Modern cartoons rely on caricature.

Figure 5.24, p.118: HONORÉ DAUMIER. Counsel for the Defense (the Advocate) (1862-1865). Pen and ink, charcoal, crayon, gouache, and watercolor. 20⅜" × 23¾".

HONORÉ DAUMIER. Counsel for the Defense (the Advocate) (1862-1865). Pen and ink, charcoal, crayon, gouache, and watercolor. 20⅜"

× 23¾".

• Daumier made some 4,000 cartoons

• Known for images of social and moral injustices in the 19th century

New Approaches to Drawing

Drawing displays endless versatility in:

• Purpose

• Media

• Technique

Cai Guo-Qiang, Drawing for Transient Rainbow (2003), Gunpowder on two sheets of paper, 179” x 159 ½ “

Cai Guo-Qiang, Drawing for Transient Rainbow (2003), Gunpowder on two sheets of paper, 179” x 159 ½ “

• Renowned for his works of ephemerel art (contemporary genre where works are impermanent and not intended to last)

• This piece created through discharge of gunpowder on two sheets of paper